William Cooper reviews the 'internationally' made works of Gabriel Orozco. He finds that in refusing to stick with one traditional medium, Orozco immerses himself in a place and creates objects that discuss, reflect upon and communicate these cultures' ideas.
A play on surface and representation. Folds of fabric rendered in tapestry. A double weave. Allegory in an architectural frame. At the bottom of the tapestry real flowers mark the outside space of the forest. On the wall of the inside space hangs a floral tapestry. Double nature, twice removed. The object (re)presenting itself. A text by Fay Nicolson drawing on her time spent in Grand Union, Birmingham, for her solo exhibition OVER AND OVER PURE FORM.
Amid the steel and soot, grease and cogs, belts and tools of the factory, haunts an alien presence. It’s a surreal stage set in the heart of the museum, reconstructing the interior of a working class household in the early twentieth century. Review by Rowan Lear
Taking its inspiration from the punch-lines and pitfalls of creating entertaining and amusing work, 'Tuff Crowd' invites artists whose practice absorbs and highlights the humour in the act of being an artist, asking the audience to broaden their understanding of what conceptual art can be. Review by Lindsey Mendick
Woodeson’s modernism is more hot than cool. Despite employing techniques of repetition and reduction, the work has a striking emotional impact. Not only do we become aware of the materiality of the objects in the space, but of our own flesh. Review by Philomena Epps
The mixing of contemporary and older works allows for formal cues to take precedent over historical context. These juxtapositions allow for new comparisons to be made. What do Warhol and Latham hold in common? What does Kapoor’s piece suggest about the current status of the medium? Review by Katherine Jackson